Ecce Homo
Spanish painter (b. ca. 1626, Burgos, d. 1666, Madrid) 98 x 75 cm Museum of Fine Arts, Budapest This painting shows the influence of Van Dyck, both the colours and the composition is close to the Flemish Baroque painting. However, its pathos and sentimentality relate it to contemporary Spanish religious painting
Painting ID:: 62365
1560-70 Polychrome wood Diocesan Museum, Valladolid One of the more interesting foreign artists who worked in Spain during the second third of the sixteenth century is the Frenchman Juan de Juni, whose sculpture is noted for its spirituality, manifested in full and beautiful forms, natural in their proportions but declamatory in their distortion of gesture. Juni may have been trained in Italy, since his art shows evidence of contact with the Lombard Renaissance and Michelangelo. In about 1533 he appears in Le?n but by 1541 he was settled in Valladolid. Several of his works deserve individual mention, among them the retables in Valladolid and Burgo de Osma cathedrals, and the Entombment in Segovia cathedral, dating from 1571, which combines figures on the same theme forming part of another Entombment, preseved in the Museum in Valladolid
Painting ID:: 62415
Ecce Homo
Italian painter (b. ca. 1475, Milano, d. 1515, Pavia). Panel Accademia Carrara, BergamoArtist:SOLARI, Andrea Title: Ecce Homo Painted in 1501-1550 , Italian - - painting : religious
Painting ID:: 63556
Ecce Homo between 1600(1600) and 1610(1610)
Medium oil on canvas
cyf Ecce Homo are the Latin words used by Pontius Pilate in the Vulgate translation of the John 19:5, when he presents a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion. The King James Version translates the phrase into English as Behold the Man. The scene is widely depicted in Christian art.
The Ecce homo is a standard component of cycles illustrating the Passion and Life of Christ in art. It follows the Flagellation of Christ, the Crowning with thorns and the Mocking of Christ, the last two often being combined. The usual depiction shows Pilate and Christ, the mocking crowd and parts of the city of Jerusalem.
But, from the 15th century, devotional pictures began to portray Jesus alone, in half or full figure with a purple robe, loincloth, crown of thorns and torture wounds, especially on his head. Similar subjects but with the wounds of the crucifixion visible (Nail wounds on the limbs, spear wounds on the sides), are termed a Man of Sorrow(s) (also Misericordia). If the "Instruments of the Passion" are present, it may be called an Arma Christi. If Christ is sitting down (usually supporting himself with his hand on his thigh), it may be referred to it as Christ at rest or Pensive Christ. It is not always possible to distinguish these subjects.
